From Wes Anderson pastels to the dreaded 'sepia filter': The secrets of movie colour grading

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From Wes Anderson pastels to the dreaded 'sepia filter': The secrets of movie colour grading
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Alec Pieper is a colourist at Diamond View.

When people ask me what part of a project I worked on and I respond with “I did the colour”, they usually think it’s cool, but are left confused as to what that means. If I show them the before-and-after of a colour grading project, they can get a better sense of what I do. Colour grading is like an “invisible” art form and a job I didn’t even know existed until after film school, when I learned how this craft refines the emotional and visual tones of a film project.

Audiences sometimes assume the colour of something was shot right out of the camera, when in reality it may have taken a colourist days or weeks to achieve a visual look. With colour, there’s a bit of a misconception that it's last-minute movie magic when in reality colour grading is the final 20% of getting a movie or content piece to its final product.

One such colouring technique that has recently come under fire is the sepia filter, which is used in films to denote warm climates…. This is problematic only when colour is used to perpetuate stereotypes or lend untrue connotations to the places and peoples depicted. When a colourist is asked to implement a colour grade in a project that they feel raises a red flag in these areas, they can potentially advocate for a change of direction.

"This intentional use of rich saturation transformed the visual experience from standard reality to a hyper-real state, amplifying the kinetic energy of the sports campaign"by Blake Daniels. This song touches on a pretty heavy personal matter, and we wanted to capture that emotion. The video opens in colour and Blake is lit with warm practical sources leaning into the moody aesthetic of the song.

"To heighten the emotion at the climax of the song, we used sharpening in specific frequencies to draw more contrast in the textures of his face while still in black and white"When approaching colour grading, one should also consider the overall style of a project, not just its tone and mood. The chosen colour palette should then be an integral part of the set design from the outset.

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